... media and warfare. This critique is organized around a study of the recent films of Jean-Luc Godard, which focus on the recurrence of the images of the mainstream culture industry and their transformation in wartime Sarajevo. It argues that Godard’s work is concerned with a cinema of cliché, following...

Figures 3 and 4 Godard includes footage of Palestinian fighters as well as excerpts from Hollywood Westerns in “Enfer” (“Hell”), the first third. Notre musique , 2004 . Screen shots Figures 3 and 4. Godard includes footage of Palestinian fighters as well as excerpts from Hollywood Westerns in
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...Figures 3 and 4 Godard includes footage of Palestinian fighters as well as excerpts from Hollywood Westerns in “Enfer” (“Hell”), the first third. Notre musique , 2004 . Screen shots Figures 3 and 4. Godard includes footage of Palestinian fighters as well as excerpts from Hollywood Westerns in...

..., the Casa Malaparte. In Jean-Luc Godard's Le mépris ( Contempt ), intermingled with these images of archaic timelessness are sudden flashes of violence ( Figures 1–2 ). An arrow through the throat of a murder victim. A car accident that sets the seal, at the end of the film, on the modern...

...: I refuse to become what you call “normal.” Jean-Luc Godard, Alphaville (1965) Questions of the panicked structures and spaces of the city are at the center of intellectual investigation across a variety of fields from cultural politics and architecture to cultural geography and literature. The...

... rethinking of the road movie narrative is made possible through the intervention of non-American influences: expressionism in noir via European émigrés and in the 1960s the feeding back of early Hollywood films through the filter of postwar European cinema, most notably in the work of Jean Luc Godard...

... useless. Let me remind you of what a young man said on a reality TV show. He was asked what he wanted to do in the future. His response was: “I want to do celebrity.” He didn't want to become a Picasso, a Shakespeare, or a Godard. He wanted to “do celebrity.” And he had perfectly understood that...

... capability ( Sandhu 2013) . The more overtly moralistic commentary on this relationship updates Jean-Luc Godard’s assertion that the essay film is “a form that thinks” (quoted in Corrigan 2011 : 33) and submits the essay film as a tactical response to a surfeit of audiovisual media, to an era in which most...

..., even while standing still! Line of chance, line of hips, line of flight. Don't arouse the General in yourself! Not an exact idea, but just an idea (Godard). Have short-term ideas. Make maps, not photographs or drawings. Deleuze and Guattari, On the Line The work of art where it appears without an...